Text in the Exhibition Medium

Guiraud, Pierre. I,a Syntaxe du #anfais, "Que sais-je?" collection. Paris:

Pressesuniversitaires de France, 1980.

Phd, Andre. "De la langue quotidienne a la langue des sciences et des

techniques", ],e /ranfais dams ]e monde, Paris, No. 61, December
!968.
CHAPTER5
Richaudeau, Francois. I,e Z,engagee/ncace. Paris: Les nouvelles &ditions
Marabout, 1973.

I,a I,isibiJlt6. Paris: Editions Retz, 1976.

I,a hnguistlque pragmatique. Paris: Editions Retz, 1981.

Simard, Jean-Paul.Guide du savoir-geri/e. Montreal: Les Editions de

I'homme, 1984.
SHOXVING
Yague[[o, Marina. .Alice au pays du Jangage. Pour comprendre ]a ]in
guistique. Paris: Editions du Seuil, 1981.

Sauvageot,Aur&lien. Fran ais d'bier ou j'anfais de domain?, "Langues en

question" collection. Pairs: Editions Fernand Nathan

228
Summary Laurent Marquart
Writing in Space
The optimal format of a text satisfies precise criteria that the author
summarizesin two words: legibility and visibility. Beforethis result is
achieved, it is essentia!, from the outset, to design a visual scenario
geared to communication, in order to define the role that scriptovisua}
messages
will playin the exhibition and establishthee visual relationship
to the objects exhibited and the setting. Not all messagesare equally
important, and it is essential to adopt from the start a hierarchical
ranking af their location, typographic treatment and supports.The author
indicates five categoriesof scriptovisual messages,ranging bom macro-
scale to micro-scaleand including large-, medium- and seal!-scale
messages.He discusses the main criteria that the designer must consider
to emphasizethe messages, i.e. the spatial positioning in relation to the
visitor's eyes,the relationship betweenthe eyesand the messagewith
respect to reading distance, the scale of the messagein relation to the
spatial reading conditions. the medium of execution and, last but not
least, creativity. The essay also looks at the choice of treatment, supports
and lighting, all of which dependon the initial concept.The author
concludes by stressing the importance of verifying the validity of
conceptual choices through practical experimentation. Visitors' successful
reception of the scriptovisual message wil! depend on the appropriateness
o/ these choices, as Rock Anctl/'s essay on typographic treatment shows.
Writing in Space
Laurent M.arquart
President, GSM Design,
Montr&al
E.3 alking about scriptovisual messagesis like talking about a poor or
occasionally embarrassingrelation, one we are obliged to put up with.
This essay has the following objectives:
to situate the treatment of scriptovisual messagesat a level
comparable to that of other components of museography;
' to establish basic rules for the design and execution of
scriptovisual messages;
' to promote a creativeattitude and a willingness to call into
question the teaching of the past in order to create new ways
of seeing and doing things in a more dynamic way that
enables more effective transmission of scriptovisual messages.
To the foregoing objectives should be added the need to be as open-
minded as possible and to maintain an overview, when designing a
project, which allows for enlightened choicesand the achievementof
the best possible balance among the components of the exhibition.
The ability to examine a project in a broad perspective will enable
museographers to completely rethink the relationships between scripto-
visual messagesand the other components of museographyin a different
context
 Text in the Exhibition Medium
AMBIVALENCEAND CONTRADICTIONSINHERENT
INTHEUSEOFTEXT
To speakof text in conjunction with museum practice is like talking
about vacations.The possibilities are virtually limitless in terms of
places, activities, means and personal approach. And of course, to speak
of the text in a museum is to admit from the outset that the subject is
elusive.
For example,there have been exhibitions in which text was of
inordinate importanceand which have enjoyedconsiderablepublic
acclaim, although everyone knows that reading a text in a museum is
physically very tiring.
There have been exhibitions in which the lack of text frustrated
visitors, who would have liked to know more about the subject. How
many examples spring to mind of unimportant messagesgiven pride of
place and messagesladen with fascinating inf ormation that were almost
impossible to read?
In fact, the optimal text format satisfiesprecisecriteria.
Broadly speaking, there is one unbreakable rule, in fact, a rule
about rules: there is no unique and absolute solution, but there are rules
that must be obeyed.
Moreover, the objective can be summed up in one word: legibility.
The very mention of legibility immediately calls to mind visibility,
without which legibility is unattainable.In principle, there is no magic
formula, no limit to the imagination or to invention, but certain criteria
must be respected.While compliancewith these criteria can create
constraints, it paradoxically pavesthe way for innovation and creativity.
232
Writing in Space
THE ROLE OF SCRIPTO'USUAL MESSAGES
INTHEEXHIBITION
The need to design a visual scenario geared
to communication
IJsing your knowledge of the basic rules to know
how best to break them
All too often, scriptovisual messagesin an exhibition are relegated to the
subsidiary role of providing secondary or tertiary information. Before we
passjudgment on this situation, it should be noted that it often reflects
a consistent, entirely justifiable conceptual approach.
However, it must be acknowledged that, in other instances, this
subordinate role results from the compartmentalization of areas of
specialization andfrom the absenceof a broad perspectiveon the concept
of the museum. Scriptovisual messagesare treated rather like glorified
legendsand usedat far below their real potential, akin to driving a
Formula I race car at 50 km/h. It is essential to draw up an overall visual
scenario gearedto communication in order to accord each component of
an exhibition its rightful place and ascertain the role it must play at any
given time in the exhibition itinerary.
The relative importance of the scriptovisual message
From a practical standpoint, designing an overall visual scenario geared
to communication means establishing in advance the relative importance
of various scriptovisual messagesin ].elation to the components of the
exhibition. The weight accordedthese messagesand their treatment
must be thought out clearly when the initial concept of the exhibition is
developed.At this point, a number of conceptual guidelines will be
adopted that will affect a whole range of detailed decisions that must be
made as the project unfolds. For this reason, it is important to correctly
develop the concept by taking into account the remarkable potential of
scriptovisual messagesto emphasize what needs to be emphasized.
In many ways, the macro-scale approach must be handled in the
sameway as the useof big billboards along highways. To attract attention
and be read, a messagemust be strong, direct and unambiguous.
233
 Text in the Exhibition M.edium
Tbe ..automobile exhibition, Musee de la civilisation, Quebec City
Iphoto:Pierre Soulardl
Relationship and hierarchical ranking ol scriptovisual messages
in a scriptovisual framework
This requirementalone is insufficient. It is essentialto decideon
the visual relationship between a messageand the three-dimensional
elements of the decor, the objects, the artifacts and the dynamic or
audiovisual components. Will the scriptovisual messagebe incorporated
into a three-dimensionaldisplay item? Will it be a freestandingcom-
ponent? Should it contrast with its surroundings or act as a discreet
support?
All of these questions and many others that must be broached at
the beginningof a projectclearly show that the communicationof
messagesby meansof typographymust not be regarded as a minor
element amid the array of communications tools available.
234
Writing in Space
Importance of the text in a scripted itinerary
To show, without being dogmatic, that there is a need to look seriously
at the transmission of messagesby means of typography, we must ask an
almost sacrilegiousquestion: is text really necessary?
The question can be askedin another way: What could be created
to transmit the messagewithout the help of a text?
While the question may seembanal, it must be acknowledgedthat
text often serves as an easy solution, a quick fix that enables museum
officials to have a clear conscience and maintain that they have done
what is necessary to transmit the message to visitors. However, if
visitors fail to readthe text, then the content has not beentransmitted.
From this standpoint, the text is a very poor means of communication.
becauseit is highly likely that somepercentageof the visitors will not
I Cd\J I L.
To meet the utopian challenge of mounting an exhibition without
a text is in fact the most daunting communication criterion that can be
undertaken because in that case the medium really does become the
message.
Viewed from this perspective, text assumesa relative value and
can be exploited to the utmost as a communications tool or. on the
contrary, can virtually disappearor become very unobtrusive, given that
other means are used to adequately communicate the exhibition's
content.
Different levels of communication
The samesort of weighing carried out with other exhibition components
must be performed within the specific domain of scriptovisual messages.
Objectively speaking, not all messageshave the same importance, nor
are they necessarily aimed at the same kind of visitor.
Consequently, they must be weighted accordingly, with a view to
effectively reaching as many visitors as possible.
Visitors seeking specialized,in-depth information will find such
information, provided it is properly presented.Moreover, somemembers
235
r
Text in the Exhibition Medium
Writing in Space

of the general public may suddenly discover a subject that fascinates

them, and information must be presented in a way they can comprehend.
rly on in the planning process, it is important to establish a
hierarchical ordering of scriptovisual messagescorresponding to specific
locations along the exhibition itinerary, weak points, varied, colourful
typographical treatments and a wide array of supports.

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For the sake of simplicity, scriptovisual messagescan be divided nouson{

into five categories:
' macro-scaletexts, which encompassall the exhibition zone I'exerdce de leur savoir-ibid.
titles, catch phrases or slogans that are read by all visitors;
' large-scale texts, which include all headings and subheadings,
-.I.- . phrases or major sloBans that facilitate
catch ' understanding
' '"' -"'o-,of
the thematic or museum-relatedcontent and must be read by
all Visitors. This category can also include certain texts one or A4emorleseere So:lardl s6e de la civilisation, Quebec City

:
,.f . ragraphs long whose scale will encourage the majority
of visitors to read them: '' "'
medium-scale texts, i.e. support texts such as subtitles or
continuous text dealing with a broad topic or a specific
exhibition item. The averagelength of texts in this category
indicates that such texts can clearly not exceedfour or five
paragraphs, without becoming impossible to assimilate
"'-J-''''
Large-scale scriptovisual message
©
small-scale texts include titles, headingsand texts that
develop a topic and provide more specific or in-depth
technical,thematic and descriptiveinformation. This
category should be approached cautiously: the length of the
texts must be limited to make them accessibleto as many
visitors aspossible. If, to the contrary, relatively long texts are
presented, it should be done with full awareness that only
visitors genuinely interested in the subject will take the time
to read them;
©
micro-scale texts include all small-scale texts that provide
extremely specific information on a theme, subject or object.

236

237
 Text in the Exhibition Medium
Alemoriesexhibition, Musee de la civilisation, QuebecCity
Small-scale Scriptovisual message
It should be noted that a text classified as micro-scale will not
necessarily be less frequently read than a larger-scale text. In some
instances,the position of a text and its relationship to an object or a
component of the exhibition cause a small-format text to have almost as
much chance of being read as a large-scale one.
238
}Vritlng in Space
VISION, MATERIAL AND KNOWLEDGE
The scriptovisual message in space
First criterion:
The positioning of the scriptovisual message in space
in relation to the visitor'keyes
The relationship between the visitor's eyes and a scriptovisual message
positioned in an exhibition is entirely different from that between the
reader's eyes and a page of a newspaper or magazine. The conceptual
approachis radically different, given that the text is positioned in space,
not on a two-dimensional page that remains a constant distance from
the eyes of the reader.
Ideally, a scriptovisual messageshould fall within the visitor's
normal field of vision, i.e. at eye level. However, this rule is impracticable
becausevisitors are not all the sameheight. For this reason,the message
should ideally be placed at different heights.
Like furniture design, exhibition designmust from the outset take
into account the sameconstraint, i.e., people come in different sizes,and
a common denominator must be sought that satisfies the majority.
Working in an exhibition space means that each decision about
the positioning of a scriptovisual message must be geared to a specific
volume of space.
To simplify matters, we can say that the text should be located on
a flat surfacefacingthe visitor,betweenI m and2 m in height.If a
vertical surface roughly I m high is tilted downward, the relationship
between the eyeand the support surface is altered, to create a relationship
that is lust as suitable as the previous one.
In a pinch, the surface supporting the text could be positioned
horizontally and visitors given an opportunity to look down at it. The
visibility of the text would still be entirely acceptable.
The text could also be placed above the visitors' heads, although
the greaterthe effort to raise the head,the harderit is to read.
Consequently, the scriptovisual messageshould be placed clearly above
239
 Text in the Exhibition Medium Writing in Space

the line of vision only in exceptionalcircumstances,in order to createa The distance between the eye and the scriptovisual message
special effect.
Secondcriterion:
Vertical surfaces The relationship between the visitor's eyes and the
for scriptovisua scriptovisual messageas regards the reading distance
messages
Idealcone The cone of visibility widens as the distance from the object viewed
of visibility increases.A scriptovisual messagecould be positioned at a height of 3 m
Average height providedit is sufficiently far away from the visitor.
of the eyes: 1.62 m

Oblique surfaces
for scriptovisua
messages

GSM Design
Optimum cone of visibility for a scriptovisual message located
on a vertical surface

The areabelow the normal line of vision is much more natural.

given that it is alwayseasierto lower the headthan to raise it.
What is most important is the position ol the plane on which the
scriptovisual messageis presented,in relation to the eye. Ideally, the
closer the surface is to being perpendicular to the floor the better. and.
whenthe message
is on a horizontalsupport,the closerit is to being
parallel to the plane of the floor the better.
When the messagelies outside visitors' normal line of sight as
they move in a normal direction along the exhibition itinerary, it may
well not be noticed at all. GSM Design
Optimal displacement of the visual cone upward and downward
for a scriptovisual message

240
241
 Text in the Exhibition Medium
In this way, scriptovisualmessagescan suddenlytake on a
dimension in spacethat createsa volume entirely different from that of
a page in a newspaper.
Imagine a visitor in the middle of a spheremadeup of numerous
small facets, eachone at right angles to his eyes. Regardlessof where the
visitor looks, his eyeperceivesan ideal surface.In other words, the
position of the scriptovisual messagemust be thought out accordingto
the position of the visitor during his visit and designed to take advantage
of the most appropriate time for looking at and reading the message.
Visitors at an exhibition move around. A hierarchical order in the
positioningof messages
must be adoptedin light of the visitors'
movements.
The scale of the message
Third criterion:
The scale of the messagein relation
to the spatial reading conditions
To attain legibility, there is one basic, incontrovertible rule, again related
to the fact that the scriptovisual messageexists in a three-dimensional
exhibition: the size of lettering must be adapted to the reading distance.
In each case, it is essential to accurately establish the desired
position of the visitor lor optimal reading of a scriptovisual message.
Instead of a pat formula linking type size and distance, it is best to
carry out practical experiments basedon the actual scaleof the exhibition.
This recommendation also applies to experienced museographers
who decide to stray from the beaten path and innovate.
242
Writing in Space
The relevance of the choice of medium
for the scriptovisual message
Fourthcriterion:
Choosingmaterials or reproduction techniques
in relation to the museum theme, while ensuring
adequatelegibility
Decisions must be made on colours, materials and lighting.
Eachof the three factors will alter the imageof the scriptovisual
messageand confer on it a particular evocative power.
Text in black letters on a white background has been acknowledged
once and for all as theoretically the ideal text presentation medium.
However.the actual functionallimitations of the black and white
presentationcan be overcomethrough the use of colour, different
materials or finishes and lighting.
In principle, a wide array of supports for scriptovisual messages
can be chosen to maintain a sufficiently high contrast between the
lettering and the backgroundto ensurethe desiredlegibility under the
conditions prevailing at a given moment along the exhibition itinerary.
While experience shows that the sharper the contrast, the more
effective the reading, it should also be noted that colour, light and
special materials also contribute to subliminal communication, whose
impact should be weighed against the degree of legibility of the message.
The degree of legibility can also be weighed against various
conditions affecting reading, e.g. positioning, lighting intensity, and
shock value versus sobriety. In many instances, a subtle contrast between
the colour of the lettering and the backgroundwill be more of an
incentive to readthe text than a sharpcontrast.
Providing a visual change of scenery is another important facet of
the use of colour, materials and lighting. The objective of disorientation
or contextualization in spaceis achieved primarily by means of the shift
from an anonymoustypographyto an expressivetypography.From this
standpoint, scriptovisual messagesmust be regardedas an integral part
of the creation of an all-encompassingcontrolled environment. Such
243
r
Text in the Exhibition Medium
I'rritingin Space

messages must be functional in terms of their legibility and the subliminal

transmission of the intended message. there remains the choice of treatment and of the supports on which they
will be printed, applied or installed.
Going beyond the application of knowledge
Fifth criterion:
Using your knowledge of the basic rules in order

This final criterion is important inasmuch asthe desk-hermus' -l-v''r '

enjoy sufficient leeway to innovate. -"o"v ' "'uD ' a-ways

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Tbe Automobile exhibition, Musee de la civilisation, Quebec City

Emphasisthrough lighting

While the designprocessproceedsstep by step, the choice of the

SUPPORTS FOR SCRIPTO'USUAL MESSAGES
Once the Structureof the scriptovisual messageshas beenestablished,
their position and dimensions set, their design and execution determined,
materials on which scriptovisual messagesare presented is an integral
part of the developmentof the basicexhibition concept.The choice
cannot be dissociated from the rest of the creative process. For example,
the decision to use raised lettering or lettering on clear glass has a direct
impact on the treatment of the backgrounds against which such lettering
appears.

244

245
 Text in the Exhibition Medium Writing in Space

Two- or three-dimensionaltreatment
Three-dimensional typographyreflects the very nature of the exhibition
room. It is eye-catchingand surprising to the visitor, as it is rarely used
in the museum setting.
Special lighting can be used with three-dimensional lettering to
heighten the effect of volume, thus creating varied, visually striking
communications.
Obviously, most scriptovisual messageswill continue to be two-
dimensional for reasons of convenience and in light of production costs.
A two-dimensional scriptovisual messagecan be enhancedby placing it
on a transparent material such as glass.

Support surfaces
Support surfacesfall, broadly speaking, into three categories:
e The scriptovisual messageis integrated into a two- or three.
dimensional component ol the exhibition; The Automobile exhibition, Musee de la civilisation, QuebecCity
Iphoto: Pierre Soulardl
. The scriptovisual messageis mounted on a two- or three- Scriptovisual messageson two-dimensional supports incorporated into
dimensional surface, which is then incorporated into a three- a three-dimensional exhibition fixture
dimensional component;
e The scriptovisual messageappearson a freestanding support.
Support materials
These categories apply both to small and large-scale messages.
Any material can. in principle, serve as a support, as long as it provides
The initial exhibition concept must guide the choice of support
contrast and its finish, colour and volume ensure the desired legibility.
surf aces. Is the scriptovisual message to be read as a voluntary addition
For example,letters cut out of wood could be set on sand,or glassletters
to a given surfaceor environment or is it to be wholly integratedinto a could be mounted in concrete, metal or composite stone.
surf ace that is markedly bigger than what is required for the message's
installation? Aside from these unusual materials, there is a wide rangeof
conventional materialssuch as wood, plastic, metal and acrylic, which
The simplest exampleis the description of an object, which can can be usedin their natural state, dyed or painted.
easily be printed directly on the wall besidethe object or on a two- or
three-dimensional label placed near the object. It is entirely feasible to In addition to the foregoing materials, mention should be madeof
less common, more delicate materials such as fabric and scrums,as well
combine these approaches, printing some texts directly on the surfaces
of an exhibition fixture and mounting other texts on autonomous as paper and cardboard, which can be coated with transparent protective
surf aces, to be read separately. coverings.

246 247
 Text in the Exhibition Medium
Wrjtjng in Space

Experiencecan of course be extremely helpful, but nothing can

replacereproducing the actual conditions under which the scriptovisual
messages are read.

The best way to assessthe validity of the concept and the degreeof

: EI Eil!::H:l
The use of light
n legibility of the message
is to build a rough,full-scaleprototypeand
study it under the anticipated reading conditions.
This is especially true becausepractical experimentation enables
the exhibition designerto validate or invalidate once and for all a given
approachto visual communications. Experimentation makes it possible
to checkwhether eachfactor that contributes to effective communication
of a scriptovisual messageshas been considered, and, more importantly,
whether the various factors have been properly balanced.
Ultimately, the solution adoptedwill reflect a shifting balance
among these criteria. Experimentation must focus on the positioning of
the scriptovisual messagesin relation to the visitor's eyes,the scaleof
the messages, the relationship between messages, the use of colour and
«:.«,, : £l:=':'==:.=:1===':E,i:=:.=:1:: the materials used to produce the messages.

'':lHHP==K
In some instances, reproducing the lighting conditions is as
important a part of verification as the visual impact of the overall design
£'*:::." $!$$ and the typography chosen.
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PRACTICAL EXPERIMENTATION
ll S
voiuml:lng an exhibiticn SPmemeansnnderstandingthe eye and the

to vert ': designershave at their disposal a remarkably accurate

expernnentation. e validity of their conceptual Choices practical

248

249